Siri N. Srinath's Kuchipudi recital was notable for the sheer brilliance of the hand gestures and the quick-changing facial expressions, especially in 'Gollabhama.' In 'Shivtandavam,' she danced with grace and joyous abandon. The piece-de-resistance however, was the 'Gopala Tarangam' and did credit to her Guru, the maestro C.R. Acharyulu.
- C.M.Rana, Free Press Journal, Mumbai

The audience sat up as one and were held as if in a spell until the dancer left the stage. Transformed by sheer force of personality and a vivid imagination, the dancer succeeded in rising high ... after this item, there was no stopping Siri. In a kriti by Annamacharya, she portrayed 'Jatayu Moksha'. Light of foot and high in leaps, she changed from one character to the other with a miraculous wizardry of rhythmic expression. She strode across the stage like a being from another world, merging lasya and tandava in a consummate totality of expression.
- Hima Devi, Afternoon Despatch & Courier, Mumbai

Siri N. Srinath carried the honours of the day with her Kuchipudi performance which was of a high standard. Her involvement in the content of the chosen composition is striking ... The opening Shiva Tandavam "Pahimam Devadayasindho' gripped one with its postural beauty and spirited nritta. The rotating on one foot, with the other raised half bent, with jumps adhering to the rhythmic sollus of the mridangam player, N. Sriram arrested attention.
- N. Hariharan, Times of India, Mumbai

Siri Srinath's recent recital, however was a welcome change - it had a subtlety that was in sharp contrast to the more competent but far less classy performances by established artistes such like Radha and Raja Reddy or Yamini Krishnamurthy ... her abhinaya showed spontaneity and empathy with the heroine of the piece. The tilt of her head, the patently assumed annoyance and the bashful capitulation to lover's demands enchanted the audience ... she had the audience holding their collective breath when she danced on the brass plate, balancing a pot of water on her head and lamps on her hands all the while.
- Ramya Sharma, Independent, Mumbai

Young and versatile Siri Srinath's Kuchipudi recital was indeed brilliant. She captivated the audience with her deep involvement in every item she danced ... Siri is endowed with a good stage presence, commendable grasp of the style and above all, a deep understanding of the content. Siri definitely has a bright future before her.
- Werrel D'Souza, Free Press Journal, Mumbai

Sprightly is the word for the gamut of dance exposition Siri Srinath presented in Kuchipudi idiom. Ebullience, elegance and energy characteristic of Kuchipudi were there in abundant measure. But not of the lokadharmi variety. With an innate rhythm, radiating resonance, an expressive face that could emote without effort and agile limbs that never sagged, Siri struck instant rapport with her medium and communicated with ease.
- Sulochana Rajendran, Indian Express, Mumbai

A few scenes from Ramayana were enacted wherein the transformation from the majestic Rama to the delicate Seeta, from the mighty Ravana to the humble Jatayu, were done within a wink of the eye, and Siri Rama enthralled the audience with quick flashes of emotions and abhinaya. She moved with great ease and grace on the stage. The Balagopala (tarangam), a speciality of Kuchipudi, accompanied by a plate and a pot was breathtaking."
- Uma Saratchandran, Times of India, Pune